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mormonyoyoman
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Already the Saturday deadline begins to loom large before us.

I'm on record (in another, obscure thread) of at once being enchanted by and dismayed by your specials. (Overall, I enjoyed 'em. Not that you were sweating the opinion of one old cranky cripple.) What I'd said, and what I believe, is that you're a personable and extremely likable person who doesn't go in for the sort of "spooky, mysterioso" persona that Blaine attempted. And my first rule of magic/mentalism is that the audience needs to like you and be rooting for you. So who made the decision to cut and edit the specials to create the "Ooo, scary! Darkness, spooky music. Oooo!" atmosphere? It seemed at odds with your actual personality.

When my wife and I watched the videos (we taped 'em; we were either out of town or they aired too late, or on Sunday, or the floor was too cold, or somethin') nothing impressed her, nothing made her react whatsoever. UNTIL the "extreme mumblety-peg" segment. And even THEN she wasn't impressed 'til the camera pulled back and she saw you were blindfolded.

I asked her about all this afterwards, because she represents - to me, at least - that group of people who are not impressed by most magic on television. (And far too many people I know are not impressed by most magic on television.) Her impressions were that most of the stunts were either "fixed" before filming or off-camera "or could have been." That's right. They didn't have to actually BE rigged pre-show, just the fact that they COULD have been set her into "not entertaining" mode.

But the blindfolded mumblety-peg? She didn't see any way that it could have been "cheated," and she literally shouted in alarm. And not showing the blindfold until AFTER we've seen the knife swiftly stabbing close to each finger -- now THAT was BRILLIANT. Curses on the "coming up next" segment which showed the blindfold first! Thank goodness she was out of the room and didn't see that!

*jeep!
--Chet (with many parenthesis)
#ShareGoodness #ldsconf
Chad Sanborn
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Welcome !
I saw you lecture many years ago. You did the back in time plot with the watch, (as previously mentioned), a nice card warp finally, and a great book test! I bought the lecture notes (Not for sale so don't ask) and had an opportunity to watch you bend spoons. Truly inspiring! You had a few notes left for sale on that too, sadly, I didn't buy them. Now they are impossible to get. BTW, the lecture was in Norfolk VA.

My question has to do with choosing material and routining. What criteria do you set for each effect you decide to use? And how often do you change your routines and add new or take away effect?

Chad
Julian Kestrel
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Alain,

are you planning a book or reprints of your previous works? Also can you tell us about the consultants you hired for the shows and what their contributions were to the specials?


Congrats

Julian
Alain Nu
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Quote:
On 2005-07-06 10:33, Necromancer wrote:

That was great, Alain (terrific any-card-at-any-number story)! And while I know that I'd love hearing your stories in person (coming to Chicago soon?), I think that the story of your process -- how you worked the rough edges off an idea, trying one thing and then another until you arrived at a finished piece -- would be fascinating to read; I hope you'll reconsider and share one such story here.
Best,
Neil


I'm holding off on announcing my calendar until around aug or sept (currently it's a little weak to the norm, since my fee jumped)-- I predict by september, things will pick up tho. check back with me around september about chicago bookings.

I'll try to think of an appropriate story to tell re: process-- it would be hard to do without explaining method tho, so let me think about it.

alain

Quote:
On 2005-07-06 11:45, mormonyoyoman wrote:

I'm on record (in another, obscure thread) of at once being enchanted by and dismayed by your specials. (Overall, I enjoyed 'em. Not that you were sweating the opinion of one old cranky cripple.) What I'd said, and what I believe, is that you're a personable and extremely likable person who doesn't go in for the sort of "spooky, mysterioso" persona that Blaine attempted. And my first rule of magic/mentalism is that the audience needs to like you and be rooting for you. So who made the decision to cut and edit the specials to create the "Ooo, scary! Darkness, spooky music. Oooo!" atmosphere? It seemed at odds with your actual personality.

When my wife and I watched the videos (we taped 'em; we were either out of town or they aired too late, or on Sunday, or the floor was too cold, or somethin') nothing impressed her, nothing made her react whatsoever. UNTIL the "extreme mumblety-peg" segment. And even THEN she wasn't impressed 'til the camera pulled back and she saw you were blindfolded.

I asked her about all this afterwards, because she represents - to me, at least - that group of people who are not impressed by most magic on television. (And far too many people I know are not impressed by most magic on television.) Her impressions were that most of the stunts were either "fixed" before filming or off-camera "or could have been." That's right. They didn't have to actually BE rigged pre-show, just the fact that they COULD have been set her into "not entertaining" mode.

But the blindfolded mumblety-peg? She didn't see any way that it could have been "cheated," and she literally shouted in alarm. And not showing the blindfold until AFTER we've seen the knife swiftly stabbing close to each finger -- now THAT was BRILLIANT. Curses on the "coming up next" segment which showed the blindfold first! Thank goodness she was out of the room and didn't see that!

*jeep!
--Chet (with many parenthesis)


Nice to meet you, Chet.

First, allow me to make no excuses for the 'performance level' of the demonstrations performed on my specials. In the end, whether it was me, my director, my cameramen, my producers, the network, or whatever combination, the four specials turned out the way they turned out, and I am not any less (or more) proud of the outcome because of anyone else's opinions of it. Everyone is entitled to their own opinion. But for that matter, I personally don't believe that anyone's opinion of anything that could be considered "art" stays unchanged over time. So, not that it will by my saying so, but your (or even your wife's) opinion of even specific effects performed during my specials, may change over time towards either the positive or the negative depending on any number of conditions and circumstances that happen internally or externally in history. Well, I could be right.

The bottom line is, the production of the four specials was a colaboration between my producer, director, the network, and myself. My part, was to provide them with 80 demonstrations to be shot over a period of 16 days over three months. And from there, everything is left in their hands. Yes, there were directing and editing choices made that took out significant parts of specific effects (at least in my opinion). Yes, they removed elements of humor in almost every main segment. Yes, they made things confusing during the interview segments. I'll tell those stories some other time. The point is though, it was a 'colaboration', therefore what came out, is the (pardon the expression) 'artistic' combined forces of those who got to make choices. My choices (and my director's choices) were made during the shoot. My producer and the network's choices are made during the editing. They always asked me what I thought, but didn't always listen to my extensive notes. But that's the way it goes, and in the end, I experienced something that I never ever thought I would ever experience in my life. No one can take that away from me.

Plus, it's like I have this old "video documentation" of what my TRUE CLOSE FRIENDS and I were able to throw down as a three-month-long project for cable TV. Whether one likes the shows or not, the over-all artistic sincerity of these four programs would be hard to match. But of course, that's my opinion.

Anyway, I do appreciate the fact that you can see I make no overt attempt at "copying" anyone who came before me, but rather attempt at my own spirit and spin of the, uh, current 'cultural street-style template', shall we say. Thanks for thinking that I'm personable and likeable (see I fooled you already).Smile

I'm also glad you appreciated the mumbledy-peg segment (Riggs' idea, and another effect I never rehearsed or performed ever before 'show time'). Please don't, anyone, do this at home--unless you want to steal any of my other material-- then please feel free to try the mumbledy-peg first. Smile

I totally understand your wife's opinion of the rigged/not-rigged indifference concern you were speaking of. It was a learning experience to try to figure out how to make it so that everything was as fair as we could make it for the lens. Lots of arguments over that subject, but no matter-- what's done is done and now it's history. When I make the next TV special, more focus will be put to the elements that were missed on these specials. Still, I maintain, it's nice to have the "dirty four"-- no matter what anyone says, I say they're worthy.

But as far as whatever anyone else says about the stuff I put out, good or bad, it CAN'T change my own opinion. That's no way to be an 'artist' or even a 'wannabe.' Because I don't have much time to dwell on the things I'm already done with, you know? I'm always on the next.

with respect to your thoughts, and regards to your wife,
PEACE,
alain


Quote:
On 2005-07-06 10:52, adolphus wrote:

Anyway, glad to see you here, Alain. I can attest to Alain's incredible skill, inventiveness and professionalism...



adolphus,

you're probably right about the old user name thing-- I think I might have lurked around here once before a looooong time ago. hey thanks for the props, man. especially coming from you, with those kick mental manuscripts of yours. please take those off the market! and for those of you who don't have adolphus' manuscripts yet, please help me get them off the market by purchasing them from him-- wait, am I being too obvious here? Smile

anyway, nice to see you again, blood. Smile
peace,
alain
magicman02
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Hi Alain,
I just wanted to say congrats on your four tv specials. I was wondering what got you interested in all of this, magic and mentalism? Also how do you try and separate yourself from all the other mentalist out there, character wise? When you were young, was it hard for you to develop a performing character? I am in college right now and I have a twin and my twin and I are working on a Twin two person act, we are calling it "TSP: Twin Sensory Perception." Two person acts are the hardest to learn in mentalism and most of them have been husband and wife (like the Evasons, who I think are the greatest two person act ever!), but we decided that by doing a twin hook on it, we can give it a new and fresh outlook, something that can make us stand out. Your specials were great and it is great to see people like you and Gerry out there giving good attention to mentalism to the public. Best wishes for you in the future.

Best,
Adrian
mormonyoyoman
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Cushlomachree, what are you doing up at this hour?!

Just had to comment that you put your finger on the key element which was in short supply: humour! For all the world, it seemed as if you're a life-loving guy and would have fun with your audience. What we had on the final cut, was the impression of a nice guy seemingly behaving out of character.

I am the more impressed now that I know of the impossible deadlines which were set. Contractually imposed 80 effects per episode? Yipes! And that time constraint! More startling: that the mumblety-peg segment was unrehearsed --- now THAT's scary!! I'd have joined my wife in yelping aloud! If it weren't 3:40 am, I might yelp even now!

Like I said, I liked much more than I disliked; the tapes of the last two specials (missed taping the first two, dagnabbit) will leave my possession when they're pried from my cold, dead fingers. Our best wishes for more, even greater television events in the future.

Although where you're get ANOTHER 80 new effects per 45-minutes, I'll never know.

*jeep!
--Chet
#ShareGoodness #ldsconf
Alain Nu
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Quote:
On 2005-07-06 11:53, Chad Sanborn wrote:
Welcome !
I saw you lecture many years ago. You did the back in time plot with the watch, (as previously mentioned), a nice card warp finally, and a great book test! I bought the lecture notes (Not for sale so don't ask) and had an opportunity to watch you bend spoons. Truly inspiring! You had a few notes left for sale on that too, sadly, I didn't buy them. Now they are impossible to get. BTW, the lecture was in Norfolk VA.

My question has to do with choosing material and routining. What criteria do you set for each effect you decide to use? And how often do you change your routines and add new or take away effect?

Chad


Hey Chad,

Thanks for the memories of that old stuff. I remember being in Norfolk. Gerry Blount wrote a nice review of my being there as I recall. Of course, it's always great to see Ed Fowler aka Carlyle (mentalists, please swarm here)!

re: criteria for choosing effects--

of course first of all, I'm partial to doing the real thing whenever the conditions are perfect to do so. so first, my a-list in my arsenal consists of effects that are as clean and pure as I can make it happen in real life. stuff that is (or appears) unmistakeably genuine. next, I try to piece together effects with entertaining premises that connect the a-list effects in a way that creates texture and a through-line to the powers that I possess. I know, in the TV series, it was more of a collage. sort of snapshots of me in various random places, doing random stunts and demonstrations that were connected only by their strangeness and nothing else. wasn't my choice but, imo, not an invalid presentation.

of course, the obvious, my personal criteria as a mentalist, is to see myself as a 'performance artist', if you will, who is capable of demonstrating under what appears to be worthy test conditions, the most amazing acts of paranormal presentations 'seen right before your very eyes.' so since it's a mentalism show, I don't usually mix any magic into the show. I think doing so diminishes the impact of what I DO. as for anyone else, that's not my job to decide, but for ME, my overall concept of what I DO lies in giving my audiences the experience of a REAL MOMENT happening. for me, it's that kind of showmanship.

btw, my live performances (as you should know from having seen me perform in Norfolk) is much different from the unrehearsed, let's-see-if-this-is-going-to-work-out presentations that you see me sport on the specials. frankly, the three basic qualities I look for in the demos I use in my live show is: 1) it's gotta kick ass 2) it's gotta kick ass 3) it's gotta kick ass. I just try to be the best that I can be-- you know, and try not to be a jerk about it.

but seriously, it's all about texture. try to stay away from being 'card-heavy', or 'synchronicity-heavy', or bending-metal-heavy, (or banging-heavy-metal).


re: routine changes--

I have enough material nowadays that I try to rotate certain demos a little on the college circuit since many schools have me back year after year. also, I tend to add something new that I play around with into the show here and there-- one year I went around and did sealed and healed until everyone else started doing it, and then I took it out. sometimes I throw in a pk demo, sometimes not. I did my own version of add-a-number for a year (partially at caesars-- wonder if anyone out there ever saw that version, where three two-digit numbers are called and added straight up. I'd say my act changes very slowly every year, with mild changes and improvements depending on my interests of the time. my act might, however, stop changing as much since I've become transfixed on trying to get it down so that I can pack as little as possible to get around. packing light, and performing an arsenal of material that also packs light was last year's personal fixation... but, not to worry, I don't intend to stop creating at the expense of saving on luggage space!
best regards,
Alain

Quote:
Contractually imposed 80 effects per episode?
*jeep!
--Chet


no, that would be 80 effects total for the four episodes-- 20 per episode-- but only about 12 to 16 effects were chosen-- the rest are on the cutting room floor, and some of those were awesome! well, I guess we can re-do some of those for the next one!

~nu

Quote:
On 2005-07-06 15:33, Julian Kestrel wrote:
Alain,

are you planning a book or reprints of your previous works? Also can you tell us about the consultants you hired for the shows and what their contributions were to the specials?


Congrats

Julian



Bonjour Julian,

Currently I am considering the possibility of re-writing a lot of the old material and then re-publishing it anthology-style in a hard-bound format, but there are no final plans to go in this direction as of yet. I'm sure you'll hear word of it if and when it happens tho.

For now, I'll quickly go into a few facts about the material in the four shows and the roles of the various consultants:


1) A large number of the effects use my own personally conceived methods.


2) I had a few close friends with interesting ideas who were kind enough to donate effects of their own design for the production of the four specials. many of these ideas were seed-ideas that I needed to tweak with my own methods.


3) More effects were worked on, or created jointly, by my crew of principle consultants and I when we were flown into LA for a day of brainstorming back in Dec 2004.


4) The principle magic consultants are:

Bob Fitch: Fitch is one of the most amazing guys I know. Ask anyone who was on the road with me, and NO ONE will tell you it was a picnic. Fitch may be the oldest of us, but no one worked harder on my show in hours and commitment than Bob Fitch. Bob is the most generous and caring soul, and I will never forget the time and energy AND dedication that he gave to me during this project. He was the man that kept me on track at all times. He always made sure I did my homework.

Sam Haine: Sam was my west-coast connection for this project. Actually, back in 2004, the week before Easter, Sam and I (along with a small team) went and shot the Exorcist Staircase effect in DC. This footage was eventually edited and sent to Discovery, and it’s said that it was upon them seeing this that ultimately sold the show! I like Sam because he’s philosophical about his approach to mentalism, he thinks ‘outside the box’, and his knowledge of what exactly can be found ‘outside the box’ is greater than that of most people’s. Sam Haine has been a confidante of mine for many years-- he always knows something that no one else does, and his resources are delightfully obscure. That and he’s got web-savvy. Sam helped me come up with scripts, and offered a few unconventional ideas, most of which (very unfortunately) didn't end up on the series-- but these may end up on my next... but whatever-- he's a method-man. a methodical jam-maestro.

John Riggs: John Riggs is one of the most prolific mentalists alive in the underworld today, and he’s been my dawg for years now. If I’m on tour and found myself driving through Knoxville, I’d call John, and if he was free, we’d meet up and spend an evening jamming on ideas that we’d been working on. John has an encyclopedic knowledge of mentalism, paranormal phenomenon, and arcane studies, which was why I thought he’d be a great asset to my team. What I like most about working with Riggs is that we have an affinity for each other’s work, but we come from different schools, so our repertoire is different. Basically, I knew if anyone could help me creatively beef up my mental repertoire purely from an effect standpoint, it would be John. A lot of John’s creativity was put into this production. A lot of it didn't make the cut, but he and I colaborated on methodical and presentational ideas to the bathroom wall effect (very late at night), cinderella showgirl psychometry, the blindfolded memory drive, and the dart catch, and he contributed fully ideas for the blind mumbledy peg and the blind on clay pots.

Bob Sheets: Sheets is my homie. We live pretty close to each other, and I was raised on a raw diet offered by the Brook Farm Inn of Magic back when I was in my teens. As far as Sheets is concerned, there are simply few people who I would trust, who I can count on helping me think of the things that I ordinarily wouldn’t think of. Bob is backed by a performing history like few others and is one of the most respected guys in our industry today. So Sheets was essentially assigned to play my ‘left field.’ Having Sheets around is like having a captain. He’s in it for life, he’s creative, he’s always coming at it from the other side, but he’ll always come up with a plan. Last December, in the boardroom, when we were first told to create four hours of TV material, Bob immediately took control, “How many different equivoque effects can we come up with? How many psychometry effects can we think of?” and we were just scribbling away. In two short hours we wrote down a list of effects, much of which was original and created right there at the table. That list turned into four specials. Bob gave us the juice.

But there was actually one other guy who was there at that meeting who I didn’t make a mention of before—

Allan Hayden: Allan was the guy who basically GOT ME THE GIG, by introducing Mike Mathis to me in the first place. Allan is also a long time, trusted friend, and he and I go way back farther than anyone else. Allan is an amazing visionary, and a performer who is a true master of what he does. Anyone who knows him, knows what I’m talking about. I would be leaving out a significant part of that day by not mentioning that Allan’s energy was present.

Fitch and Sheets had never met Riggs before, and I don’t think any of them knew Sam that well if at all, but the second we shut the doors and got to work, it was a jam session like nothing you could possibly imagine. One thing we have in common is we’re each our own ‘creative machine’, but each of those guys were chosen by me because of their different strengths. The thing is, though-- for all the great guys I had to back me, less than half the demonstrations we created right at that moment were actually tested and driven, compared to the larger number of them which had never been performed or even thought of before.

there you have it.

peace,

alain
MagicJared
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Just wanted to congratulate you on the specials. I was flipping through the channels at 1am and went "wait a minute, I know that guy". Its nice to see a mentalist get some serious air time.
Deming
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Alain,

I just registered on the Café' after learning you were here. Very good stuff pal. Very kind of you to take the time, and I know how little you have. The questions are great and your reponses are wonderful. You're a generous pro!

Catch up soon.

Scott
Alain Nu
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Quote:
On 2005-07-07 03:57, magicman02 wrote:
Hi Alain,
I just wanted to say congrats on your four tv specials. I was wondering what got you interested in all of this, magic and mentalism? Also how do you try and separate yourself from all the other mentalist out there, character wise? When you were young, was it hard for you to develop a performing character? I am in college right now and I have a twin and my twin and I are working on a Twin two person act, we are calling it "TSP: Twin Sensory Perception." Two person acts are the hardest to learn in mentalism and most of them have been husband and wife (like the Evasons, who I think are the greatest two person act ever!), but we decided that by doing a twin hook on it, we can give it a new and fresh outlook, something that can make us stand out. Your specials were great and it is great to see people like you and Gerry out there giving good attention to mentalism to the public. Best wishes for you in the future.

Best,
Adrian


hey Adrian,

Thanks for your nice thoughts. The "twins" performance sounds so dope I'm now jealous that I'm not a twin! I predict that you and your brother will come up with something that takes it even FURTHER than you were expecting, so keep on thinking!

re: character--

I mentioned this earlier-- basically my character is me. I sincerely enjoy exploring in creative ways, ALL interesting concepts of the mind and perception, So the effects are relevent to my character only in that I am a "collector/designer" of these unusual demonstrations. So I play the part of "me" (sometimes harder than what one might imagine), and my demonstrations and stunts-- well they're just part of my weird collection. A collection of feats that no one else can present quite the way I do it (mostly for their own reasons I'm sure, but my claim holds no matter). I try and make each demonstration fun and captivating as well as resonate with the deeper, more mysterious side to weird things we think about and the strange ways we think about them. I enjoy each separate concept for what it makes other people feel while they are experiencing it. So, as I said in an earlier post, it's actually quite simple: everything I do, I do because I see how it affects people in a certain way. The nice thing is that each separate demonstration affects people in a different way-- that's basically how I set my standard. So my live performance, counts off a different feeling or sensation, that combined, helps to create the overall impression of my character. but my character, if I were to have one, is just me. I've made choices (and to some they may appear to be "bland" choices) to try and integrate fully the effects (of which I've put my own original spin) as seamlessly as possible into simply being who I am. my thinking is, by doing this in this manner, as I continue to grow and evolve as a human being, so does my work and how I do it. IMO, that is the only sincere way of expressing this 'art form.'

But yes, of course when I was young, I had no character to speak of except my geeky little self. And so with that in mind, please allow me to take a, perhaps unconventional, stand. I believe, when one takes on the great responsibility of becoming a practicing "mentalist', you are NOT an actor. Ultimately, you are a REAL person whose purpose is to demonstrate "amazing feats that challenge the human mind." To me, that is the big difference between mentalists and magicians.

Mind you, I'm not saying that a mentalist should not perform "tricks," or temporarily take on a funny role to create a "playful moment"-- as I mention on an earlier post, some of what I do might seem TOO outrageous or over-the-top- - an ex-lover's name appears written in a mens room stall, a book a matches going up in flames while concentratng on it-- you have to admit, it adds a playful element that doesn't necessarily make me appear "real", but at that point for me, it's not the intention. I want those moments to make me come off as quirky, light-hearted, and most of all good spirited.

Well, that's part of who I am-- the real me. This is the way I've always done it. Sometimes, I will bust out the role of a 'trickster' who plays the PART of a 'bizarre mentalist' , but what is really happening is I am ACTUALLY a mentalist (that is myself) who is exhibiting a "mischievous" side to his character during those moments-- at least that's how I play moments such as those during live conditions.

Hope this helps.
peace,
alain

Quote:
On 2005-07-07 08:31, MagicJared wrote:
Just wanted to congratulate you on the specials. I was flipping through the channels at 1am and went "wait a minute, I know that guy". Its nice to see a mentalist get some serious air time.


... I've always dreamt of being on late night tv. I fantasized that some guy who used to know me would be surfing the channels late at night in a half-intoxicated stupor, and stop because he sees some vegas showgirls, only to realize a second later he got stuck on my show. how wronged he would feel at that moment would ultimately determine how much I intend to chuckle inwardly. nice to see you, jared! (he he)

alain

Quote:
On 2005-07-07 08:41, Deming wrote:
Alain,

I just registered on the Café' after learning you were here. Very good stuff pal. Very kind of you to take the time, and I know how little you have. The questions are great and your reponses are wonderful. You're a generous pro!

Catch up soon.

Scott


scott,
well guess what? you may definitely be responsible for me turning out this way. YOU are the pro's pro, and you never cease to impress me on every level, as a speaker, mentalist, and human being. thank you for making me proud to be human!
peace,
alain

Gee wiz-- just 16 more posts before am a 50 plus posted member of the magic Café!

I wonder if by saturday evening, I will earn this honorable priviledge...
saglaser
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Hey Alain!

I really appreciate your tales of how your specials came to be. I think there's a common misconception that, since television is taped and edited, it can be lovingly crafted, tweaked and massaged until it's at least somebody's idea of the best it can possibly be. The truth, as your stories show, is that it's a race, sometimes a marathon, and the fact that a series like yours gets completed at all can be a near miracle. What you and your team actually had to do is in many ways scarier than the Excorcist stairway stunt Smile

Aside from all the other insights you've sharted here, I hope folks come away with the understanding that, if these four specials were as good as they were given the conditions under which they were made, just imagine how good the next ones will be with all you've learned.

If it were entirely up to you, though, would your next special be along similar lines or would you rather be able to do something more like your stage shows?
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Greetings Mr. Nu,

While I have seen your so called "TV Shows", I have some serious questions that I am sure are on everyone's mind. Please don't think you can avoid this post as a real mentalist would certainly answer them. (HA! Caught you with my stunning NLP technique.) There are rumors you cheated to get additional audience reactions. Perhaps you would care to address these accusations?

1) Is it true that in many of the effects on your shows, when you were filmed from the waist up, you were only wearing a pink boxers that say "I Used To Hate Spankings" to elicit looks of astonishment from the audience?

2) That in fact, the girl in the dojo is your mother, all the wrestlers were first cousins, and the guy with the DVD was in fact your love child with Janet Reno?

3) That in fact, during the mumbledy-peg, people held their breath only because John Riggs had purposefully ingested large bean burritos for breakfast!

4) That the poor girl in the bookstore had no choice but to pick that book as the entire store's inventory had been swapped out?

and lastly,

5) Is it not true that you surgically altered not just one, but SIX ducks for the cover of your bizarre magick booklet, aptly titled "Six"?

Do not dodge these questions sir. I, for one, want to see the truth told.

Sincerely,
Sam Haine
Magical entertainment for charities www.sam-haine.com
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Wait.......sam......was that a joke.......At first I thought you were serious but they seemed to just get really weird...
Anyway congratulations on the TV specials....I enjoyed the first and hope to see the others as there aren't many magic specials on any more (except for David Blaine reruns and boy they get exciting more and more Smile
Ephes. 2:8-9



For by GRACE are ye saved through faith; and that NOT OF YOURSELVES: it is the gift of God: NOT OF WORKS, lest any man should boast.
Alain Nu
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On 2005-07-07 04:02, mormonyoyoman wrote:
Cushlomachree, what are you doing up at this hour?!

Just had to comment that you put your finger on the key element which was in short supply: humour! For all the world, it seemed as if you're a life-loving guy and would have fun with your audience. What we had on the final cut, was the impression of a nice guy seemingly behaving out of character.

I am the more impressed now that I know of the impossible deadlines which were set. Contractually imposed 80 effects per episode? Yipes! And that time constraint! More startling: that the mumblety-peg segment was unrehearsed --- now THAT's scary!! I'd have joined my wife in yelping aloud! If it weren't 3:40 am, I might yelp even now!

Like I said, I liked much more than I disliked; the tapes of the last two specials (missed taping the first two, dagnabbit) will leave my possession when they're pried from my cold, dead fingers. Our best wishes for more, even greater television events in the future.

Although where you're get ANOTHER 80 new effects per 45-minutes, I'll never know.

*jeep!
--Chet


Quote:
On 2005-07-07 04:02, mormonyoyoman wrote:
Cushlomachree, what are you doing up at this hour?!

Just had to comment that you put your finger on the key element which was in short supply: humour! For all the world, it seemed as if you're a life-loving guy and would have fun with your audience. What we had on the final cut, was the impression of a nice guy seemingly behaving out of character...

*jeep!
--Chet


Hi Chet,

I’ll respond to the rest of your post here.

Please consider my 3am to 5am posts a testament to my commitment to answer all your questions on this thread here at the Magic Café. It’s 7pm now, and as you can see, I’m still at it (don’t worry tho, I remembered to eat). Smile But for those of you who need reminding, please note that come the end of Saturday night, I will sign off from the Magic Café for an indefinite period of time, so that I can persue my career as an “International Man of Mystery.” Smile

RE: Humor. Yeah, I know, they cut out practically ALL humorous asides. In the blindfold drive, for instance, you hear me at one point saying, “A few people died while driving this road...” and that’s it. Well, considering that Lombard Street is a 5 mph one way street-- if anyone ever actually did die on that stretch, it was probably from a brain anurism. But for you, and your entertainment pleasure, or whatever, the entire line is: “A few people have died driving down this road-- even more have been injured, and even more have gotten tickets...” The tag line at the end which was also omitted was “One thing’s for sure-- I’m really glad I didn’t get a ticket!”

Anyway, I know at times the editing made things feel awkward on the specials, I thought so too, but if that’s the hand you were dealt at the time, then the moment that is captured becomes the finished product. The beauty of it does not come from the first gut impression or reaction of whether one liked or disliked the effect or shows in general , but from the ‘truth of the moment’ caught on tape by whatever reaction, ecstatic, bewildered or just mildly amused. Regardless of the reaction, or even the editing, an aspect of the 'truth' is ALWAYS told, and IMO, that’s what makes it both interesting and appealing to the viewing audience. Not everyone, of course, will think of it as interesting, but it’ll ultimately be a matter of opinion.

People, to this day, talk s**t about all the other guys out there as well, so now I probably know how they feel or felt. What’s been a kick to me is that I even have loyal supporters out there (magicians and laymen alike) who think I’M the only game in town, but I don’t even take that seriously. I have much love and respect for the main guys out there doing it and making it their own. I’ve heard many good things and I’m really looking forward to checking out Angel’s specials on cable coming soon. I’m really curious as to what Blaine’s got up his sleeve for his next attack on 'the streets.' In fact all the guys out there doing it currently, are interpreting magic and mystery in their OWN WAY, and you know what, that's what's most exciting about it all to me.

word,
alain
blazes816
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Please don't dodge sam's questions mr. Nu. I too would like to know.
Alain Nu
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[quote]On 2005-07-07 15:58, Sam Haine wrote:

>>While I have seen your so called "TV Shows", I have some serious questions that I am sure are on everyone's mind. Please don't think you can avoid this post as a real mentalist would certainly answer them. (HA! Caught you with my stunning NLP technique.)>>

(insert "kung-fu-flick-style-startled-appearance" facial expression here)
"OH! you got me again, you devil you!" (lips keep moving one half beat longer).


>> There are rumors you cheated to get additional audience reactions. Perhaps you would care to address these accusations?>>

and blow my cover?


>>1) Is it true that in many of the effects on your shows, when you were filmed from the waist up, you were only wearing a pink boxers that say "I Used To Hate Spankings" to elicit looks of astonishment from the audience? >>

first, they were b pink boxers.

second, I'm impressed at your ability to read and decifer the embroidered ancient characters so easily.


>>2) That in fact, the girl in the dojo is your mother, all the wrestlers were first cousins, and the guy with the DVD was in fact your love child with Janet Reno?>>

no... the woman praying during the blindfold drive, THAT was my mother.
yes... all the wrestlers were YOUR first cousins Smile
no... I don't know where you could have gotten information like that, but I feel I've already said too much.


>>3) That in fact, during the mumbledy-peg, people held their breath only because John Riggs had purposefully ingested large bean burritos for breakfast!>>

and he wasn't even there!


>>4) That the poor girl in the bookstore had no choice but to pick that book as the entire store's inventory had been swapped out?>>

...don't forget about the 'wall index' we used for the grafitti effect. (just blow the whole *** thing, why don't you?)

>>and lastly,

>>5) Is it not true that you surgically altered not just one, but SIX ducks for the cover of your bizarre magick booklet, aptly titled "Six"?>>

gather around, Café listeners, and let me let you all a little secret. it has been a well kept secret for 5 years now, and after this moment it won't be a secret any more-- if you go out to joe mogar's (yes, of 'color changing knife fame' if there is such a thing). well so like I'm saying, if you go out to joe mogar's place in south jersey, on a beautiful pond, surrounded by miniature horses (joe owns the largest miniature horse farm on the east coast, sporting over TWO HUNDRED miniature show-horses). anyway, like I'm saying, if you go out to joe mogar's place in south jersey, on the farm, on a beautiful pond, literally surrounded by miniature horses (that protect the 'franken-flock' from carnivorous predators), at certain times of particularly quiet afternoons, if the ever-present fog is lifted from the pond in just the right way... you can see them-- with all SIX HEADS still functioning and acting as their own government-- dunking, feeding, preening, resting... a completely breathtaking experience; equally as beautiful as it is grotesque. should you ever be out at his Magic Stars Miniature Horse Ranch, right smack between I 95 and AC...


>>Do not dodge these questions sir. I, for one, want to see the truth told.>>

how do you like them onions?

late,
alain
mormonyoyoman
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Ouch! "Wall index"! Now we know for certain how Copperfield did Graffitti Wall!

*jeep!
--Chet

Just noticed: Sir Nu, you have only to come up with 14 more posts and then you can join in at the Inner Thoughts banquet room. Might I suggest using the post index?

*jeep!
--Chet
#ShareGoodness #ldsconf
Alain Nu
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Quote:
On 2005-07-07 21:31, mormonyoyoman wrote:
Just noticed: Sir Nu, you have only to come up with 14 more posts and then you can join in at the Inner Thoughts banquet room. Might I suggest using the post index?

*jeep!
--Chet


what is this 'post index' that youy speak of?

Quote:
On 2005-07-07 15:02, saglaser wrote:
Hey Alain!

I really appreciate your tales of how your specials came to be. I think there's a common misconception that, since television is taped and edited, it can be lovingly crafted, tweaked and massaged until it's at least somebody's idea of the best it can possibly be. The truth, as your stories show, is that it's a race, sometimes a marathon, and the fact that a series like yours gets completed at all can be a near miracle. What you and your team actually had to do is in many ways scarier than the Excorcist stairway stunt Smile

Aside from all the other insights you've sharted here, I hope folks come away with the understanding that, if these four specials were as good as they were given the conditions under which they were made, just imagine how good the next ones will be with all you've learned.

If it were entirely up to you, though, would your next special be along similar lines or would you rather be able to do something more like your stage shows?


hey steve,

thank you for saying all that-- you overstand and I appreciate it. I couldn't have said it more beautifully. thank you. more importantly, however, I'm touched that you support my push to work on future programs/dvd's of this nature--

I truly am itching to organize into action, all the things we didn't have time to do or think about the last time we put all this together.

as far as what I plan to do with the next special formatwise-- I haven't figured it out yet totally-- but I'm open to ideas... Smile

I like the idea of doing it partially in a 'live audience / staged' setting for perhaps a short trio of effects... I'll meditate on this. thanks again for your eloquent thoughts.
PEACE!
alain
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Alain,

They're treating you very nicely here. See? They're pretty nice guys.

And we like you... we really like you! Smile

Your pal,

Docc
Alain Nu
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On 2005-07-08 00:10, Docc Hilford wrote:
Alain,

They're treating you very nicely here. See? They're pretty nice guys.

And we like you... we really like you! Smile

Your pal,

Docc


Ding ding ding ding ding ding ding ding ding ding ding ding ding!!!!!!!!!!!!!
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